A Singapore Film That Went on Strike: The #LookAtMe Saga
The Rumble Behind the Screen
Ken Kwek, once a National Day Parade director and a former Straits Times reporter, shot his second feature #LookAtMe in New York, only to get slapped with a no‑screen card back home.
The film dives into a Singaporean tale where a pastor’s anti‑gay sermon clashes with his own questionable actions.
A viral clip by the main character stirs trouble, leading to a potential revenge plot that ruffles more than a few feathers.
Why the Authorities Slam the “Blowing the Whistle”
IMDA (Infocomm Media Development Authority) scanned the movie and declared it “beyond the acceptable Film Classification Guidelines” because it “denigrates a religious community.”
Their decision was backed by the Ministry of Home Affairs and the Ministry of Culture, Community and Youth—a trio that’s usually careful about keeping everyone on the same page.
Advisory committees, offering a pulse on public sentiment, chimed in.
The Core of the Controversy
The film brands itself as “inspired by true events,” a phrase that stirs the pot: Does this mean real Singaporean church leaders were involved?
The portrayal of a pastor who publicly condemns homosexuality yet privately flips the script on his own faith is flagged as possibly defamatory and damaging to the Maintenance of Religious Harmony Act.
Critics claim the script nudges viewers toward violence—an alarming whisper in a city that prides itself on social cohesion.
Fans and Filmmakers Speak Out
Kwek and his producers feel blindsided. They’re drafting an appeal, hoping IMDA will clear the film’s path by December for the Singapore International Film Festival.
They emphasize that #LookAtMe is pure cinema, aiming to spark conversations on pressing melangering subjects, not to swing a gun at a pastor.
The Bigger Picture
Singapore’s Film Classification Guidelines are tight on anything that could “denigrate” or “harm” racial or religious communities.
A refused classification essentially freezes a film; it can’t be sold, rented, or even possessed in the country.
Look how in May The Kashmir Files, a Hindi piece, got the same fate for similar reasons—“enemies of harmony”—highlighting the government’s cautious stance.
What’s Next?
The drama will soon unfold at the Singapore International Film Festival.
Will IMDA relent? Only time will tell—if not, the film’s future will hinge on legal appeals and, frankly, a lot of patience from veteran director Ken Kwek and his talented cast that includes Thomas Pang, Adrian Pang, Pam Oei, and Ching Shu Yi.
“A dialogue about this film could spark more than just conversations; it might ignite a change in how stories are told in Singapore.” – a hopeful note from Kwek’s own crew.
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Note: This rewrite keeps the spirit of the original while adding a light‑hearted, heartfelt spin, laying out the story in a fun, reader‑friendly format.
